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  • Perfect Strangers | Department of Art & Art History
    30 Perfect Strangers Watch Video About Perfect Strangers tells the story of two unique and engaging characters One is Ellie who embarks on an unpredictable journey of twists and turns determined to give away one of her kidneys Five hundred miles away Kathy endures nightly dialysis and loses hope of receiving a transplant until Ellie reads her profile on an online website Both women face unexpected challenges as their parallel stories unfold over the course of four years Perfect Strangers raises questions about what motivates an individual towards this act of compassion Why are we unnerved by the idea of such an extreme gift Awards Festivals and Screenings National Broadcast America ReFramed series PBS World Best Documentary Atlanta International Documentary Film Festival 2014 Audience Award Sebastopol Documentary Film Festival 2014 Audience Award San Luis Obispo International Film Festival 2014 Honorable Mention Santa Fe Independent Film Festival 2013 Honorable Mention University Film and Video Association National Conference 2013 Ethnografilm Paris 2015 Rocky Mountain Women s Film Festival 2013 Southern Circuit 2014 Thin Line Film Festival 2014 Big Sky Documentary Film Festival 2014 American Documentary Film Festival 2104 ReelHeART International Film Festival Toronto 2014 SF DocFest 2013 Heartland Film Festival 2013 United

    Original URL path: https://art.stanford.edu/works/perfect-strangers (2015-06-02)
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  • Stanford’s documentary film program to get a forum in France | Department of Art & Art History
    About Exhibition Spaces Stanford Art Gallery SubGallery Cummings Lobby Gallery Annenberg Corridor Other Exhibition Spaces Open Studios New Venues in 2015 News Recent News Newsletter Subscribe Stanford s documentary film program to get a forum in France Detroit Party Marching Band a film co directed by Stanford documentary film MFA students Katherine Gorringe and Lauren DeFilippo will be screened in France in January Dec 17 2013 Stanford The Dish Posted In Faculty Students Documentary Film and Video Jan Krawitz professor and director of the MFA program in documentary film and video will be jetting off to Biarritz France in January with two second year graduate students to participate in the 2014 Festival International de Programmes Audiovisuels FIPA film festival Stanford s graduate program is one of only five film schools around the globe to be selected for the New Talents section at the festival and this is the first ever American program to be included since the inception of the section which includes documentaries fiction animation and experimental films directed by students Read more About Department Overview People Works Contact Website Feedback Programs Art History Art Practice Design Documentary Film Film and Media Studies News and Events Department Newsletter Recent

    Original URL path: https://art.stanford.edu/news/stanford%E2%80%99s-documentary-film-program-get-forum-france (2015-06-02)
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  • Cinema by Other Means | Department of Art & Art History
    Open Studios New Venues in 2015 Cinema by Other Means Pavle Levi Faculty Film and Media Studies April 2012 About Cinema by Other Means explores avant garde endeavors to practice the cinema by using the materials and the techniques different from those commonly associated with the cinematographic apparatus Using examples from both the historical and the post war avant garde Dada Surrealism Letterism structural materialist film and more Pavle Levi reveals a range of peculiar and imaginative ways in which filmmakers artists and writers have pondered and created performed and transformed the movies with or without directly grounding their work in the materials of film The study considers artists and theorists from all over Europe France Italy Soviet Union Germany Hungary but it particularly foregrounds the context of the Yugoslav avant garde Cinema by Other Means offers the English language reader a thorough explication of an assortment of distinctly Yugoslav artistic phenomena such as the Zenithist cine writings of the 1920s the proto structural Antifilm movement of the early 1960s and the ortho dialectical film poetry of the 1970s About the Creators Pavle Levi Faculty Film and Media Studies About Department Overview People Works Contact Website Feedback Programs Art History

    Original URL path: https://art.stanford.edu/works/cinema-other-means (2015-06-02)
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  • Disintegration in Frames | Department of Art & Art History
    Disintegration in Frames examines the ways in which national identity and interethnic relations are approached evaluated and critically dissected in films by directors such as Dušan Makavejev Emir Kusturica and Srdan Dragojevic subcultural television and musical performances of the Bosnian pop art movement New Primitivism amateur video works made by the returning veterans of the Croatian war political documentaries chronicling the psychological effects of state socialism and more About the

    Original URL path: https://art.stanford.edu/works/disintegration-frames (2015-06-02)
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  • Journal of Chinese Cinemas, special issue on Sound and Music | Department of Art & Art History
    Gallery SubGallery Cummings Lobby Gallery Annenberg Corridor Other Exhibition Spaces Open Studios New Venues in 2015 Journal of Chinese Cinemas special issue on Sound and Music Jean Ma Matthew Johnson coeditor Faculty Film and Media Studies September 2013 About the Creators Jean Ma Faculty Film and Media Studies About Department Overview People Works Contact Website Feedback Programs Art History Art Practice Design Documentary Film Film and Media Studies News and

    Original URL path: https://art.stanford.edu/works/journal-chinese-cinemas-special-issue-sound-and-music (2015-06-02)
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  • Melancholy Drift: Marking Time in Chinese Cinema | Department of Art & Art History
    brought new global respect for Chinese cinema in amplifying motifs of loss nostalgia haunting absence and ephemeral poetics Hou Tsai and Wong all insist on the significance of being out of time not merely out of place as a condition of global modernity Ma argues that their films collectively foreground the central place of contemporary Chinese films in a transnational culture of memory characterized by a distinctive melancholy that highlights the difficulty of binding together past and present into a meaningful narrative Melancholy Drift in fact drifts scarcely at all rather it rides the films of three Chinese auteurs right into the heart of its subject the mismatch between private feeling and collective history Nor is the book melancholy for these crucial films set carefully beside one another begin to pulse anew under the deft touch of Jean Ma s analyses Drawing on a deep reservoir of historical and critical knowledge she helps us hear these films speak of our times then speak of time itself and of its dislocations Melancholy Drift reminds us that films can reach such depths and that cinema studies at its best can travel with them Dudley Andrew Yale University From Wong Kar wai s stop motion techniques to Hou Hsiao hsien s command of the long take and Tsai Ming liang s suspension of narrative the poetry of time has been crucial to the achievements of contemporary Chinese cinema just as it is central to contemporary film theory This has been clear for a long time But Jean Ma s Melancholy Drift is the first sustained treatment of the topic Chris Berry University of London Theoretically sophisticated and elegantly written Melancholy Drift elucidates the subject of cinematic time in its various configurations as a response to historical ruptures and political upheavals as representational politics

    Original URL path: https://art.stanford.edu/works/melancholy-drift-marking-time-chinese-cinema-0 (2015-06-02)
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  • Still Moving: Between Cinema and Photography | Department of Art & Art History
    video and the projected image in contemporary art practice Engaging still moving and ambiguous images from a wide range of geographical spaces and historical moments the contributors to this volume address issues of indexicality medium specificity and hybridity as they examine how cinema and photography have developed and defined themselves through and against one another Foregrounding the productive tension between stasis and motion two terms inherent to cinema and to photography the contributors trace the shifting contours of the encounter between still and moving images across the realms of narrative and avant garde film photography and installation art Still Moving suggests that art historians and film scholars must rethink their disciplinary objects and boundaries and that the question of medium specificity is a necessarily inter disciplinary question From a variety of perspectives the contributors take up that challenge offering new ways to think about what contemporary visual practice is and what it will become Contributors George Baker Rebecca Baron Karen Beckman Raymond Bellour Zoe Beloff Timothy Corrigan Nancy Davenport Atom Egoyan Rita Gonzalez Tom Gunning Louis Kaplan Jean Ma Janet Sarbanes Juan A Suárez Still Moving engages new debate in a field central and crucial to cinema media and cultural studies The collection explores the nature of photography and cinema both before and after the advent of digital media As a result some stunning work on acceleration and simulation on filming and editing in photographic and electronic media on the fortunes of memory and oblivion and on the dialogue and conflict of technologies emerges from the tension of still and moving images Tom Conley author of Cartographic Cinema Still Moving maps out various interesting directions trends and tendencies inspired by the fact that moving image media are losing their coherence spinning out and recombining in interesting ways In doing so

    Original URL path: https://art.stanford.edu/works/still-moving-between-cinema-and-photography (2015-06-02)
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  • The Culture of Diagram | Department of Art & Art History
    Exploring a terrain where words meet pictures and formulas meet figures the book foregrounds diagrams as tools for blurring those boundaries to focus on the production of knowledge as process It outlines a history of convergence among diverse streams of data in real time from eighteenth century print media and the diagrammatic procedures in the pages of Diderot s Encyclopedia to the paintings of Jacques Louis David and mathematical devices that reveal the unseen worlds of quantum physics Central to the story is the process of correlation which invites observers to participate by eliciting leaps of imagination to fill gaps in data equations or sensations This book traces practices that ran against the grain of both Locke s clear and distinct ideas and Newton s causality practices greatly expanded by the calculus probabilities and protocols of data sampling Today s digital technologies are rooted in the ability of high speed computers to correct errors when returning binary data to the human sensorium High tech diagrams echo the visual structures of the Encyclopedia arraying packets of dissimilar data across digital spaces instead of white paper The culture of diagram broke with the certainties of eighteenth century science to expand the range

    Original URL path: https://art.stanford.edu/works/culture-diagram (2015-06-02)
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